Italian Fashion: Fausto Puglisiイタリアンファッション：ファウスト・パグリッシ

Fashion is, by necessity, an obsession for Fausto Puglisi, who designs his own label. Here he waxes lyrical about the wonder of Italian craftsmanship – something he sees as intrinsically connected to Italian society. But it is all underpinned by the opening statement: “To be proud to be Italian means to go out and discover new things”. An attitude that took Puglisi to Berlin’s S&M scene and then back to Tuscany’s leatherworkers.

Italian Fashion: Valentinoイタリアンファッション：ヴァレンチノ

Since they commenced their creative directorship of Valentino in 2008, Maria Grazia Chiuri and Pierpaolo Piccioli have made a point of opening the exclusive and enigmatic world of couture to a new audience. From conducting atelier visits to clarifying the importance of the relationship between an idea and its making, the duo explain how and why they are presenting a less well-known side to “Made in Italy”.

Christian Louboutinクリスチャン・ルブタン

Shoe designer, Christian Louboutin, sketches another signature red-soled creation while discussing his early inspiration – the show girls of the Folies Bergères – and a love/hate relationship with his designs. www.vam.ac.uk/shoes

In Conversation, Yohji Yamamotoコラボレーターたちが語るヨウジヤマモト

To coincide with the retrospective exhibition of Yohji Yamamoto’s work at the V&A, SHOWstudio.com showcases a unique discussion between three collaborators who helped shape the visual identity of Yamamoto in the 1980s. In this 50-minute film shot in the V&A’s Norfolk House Music room, art director Marc Ascoli, fashion photographer Nick Knight and graphic designer and art director Peter Saville are in conversation with London College of Fashion curator Magdalene Keaney.

Transcript:

Nick Knight: I think that to see the work that we did in context, you have to look at the fashion magazines of 1986 and see what was going on in those fashion magazines. It was about a million miles away from what we did.

Peter Saville: Unfortunately, it is the beginning of where it all goes horribly wrong. I mean the coherence and the cohesion between what Yohji was doing on the other side of the world and then Marc’s position in Paris and then the part of the UK culture that Nick came from and then the part that I came from is beginning of what you would call convergence, what we do now call convergence. But it was, in a way, a quite positive and utopian convergence at that time.

Marc Ascoli: That’s true.

PS: Nick introduced me into the system, that bit came next … you do that bit … Nick, just finish that bit.

NK: So I’ll do my version of the history. I completed a hundred portraits through a woman who ran a model agency, a very good model agency, called Z Models. She used to find all the most interesting models – not the mainstream models … all the best models. She also looked around for different talent. Marc knew her, he asked her who was interesting in London at the moment and she introduced my work to Marc. Then Marc and I got on and he liked my work and I went across to Paris and Marc said OK, so do the photographs, I’ll art direct them, but who can create the – who can do the graphic design?

PS: Who said that? You said that?

NK: Marc said that. So I said well, there’s somebody who I’ve worked with over the past couple of years on and off, and I introduced Marc to Peter.

PS: So there was a convergence of mood between the three of us. All three on exactly the same wave length and it comes out in those first two catalogues.

NK: I knew a small amount about Yohji Yamamoto. He represented the beginnings of something very exciting but slightly away on the horizon. The world of fashion that I knew at the time – I was interested in the world of people like Lee Barry, Taboo, Michael Clark – very extreme. You’re talking about people who were taking almost performance art into fashion. So that was the sort of world that I was looking at and was attracted by. When Yohji Yamamoto first came along it really was a distant star, something exciting and appealing on the horizon. So in 1985 when Marc first came to see me, it was really a long way off, it hadn’t really quite got to London. It wasn’t really part of the fashion vernacular, it wasn’t what was going on, it wasn’t part of mainstream fashion. The reason I fell in love with it and the reason I ended up believing in it so firmly is it represented a very interesting vision of women. Previously in fashion women had been represented overtly sexually, especially in fashion imagery. You have got to think about what went on in the 1970s, with people like Wangenheim, Bourdin … It was an overtly sexual way of behaving and that was represented in photographers who chose fashion photography to talk about their sexual orientation or their sexual desires. And that was the mainstream. And I always felt really uncomfortable with that. When Yohji arrived, here was somebody proposing fashion which wasn’t about women articulating their sexuality as a primary way of behaving and that was what attracted me to it. I thought this is actually to do with seeing women as intellectual beings and not seeing them as sexual beings. It was enormously different to what was going on at the time and I thought it was enormously interesting.

Magdalene Keaney: So kind of starting to really hone in on the production of the catalogues and your work together. Again, we’ve talked around this a little bit. Can you describe the tension, if there was one or alternatively the joy of the kind of functionality of what a look book or a fashion seasonal catalogue is as a document.

NK: I have to stop you there, Magda. There’s a big difference between a look book …

MK: OK, the functionality of the catalogue, so either the tension or the joy, the other end of it between the kind of function …

PS: No joy – do you remember any joy?

MK: Between the functionality of the catalogue as a document or a commercial product, which it is in some way … or it operates in a commercial way.

PS: I mean it’s a work, a collective work of it’s own … this is a new way, not really done before. They were innovations in themselves.

NK: As I understood it, there was something that Yohji Yamamoto had created with Marc to se

In June 1999, Alexander McQueen’s Spring/Summer 1999 collection was the subject of the V&A’s very first Fashion in Motion live catwalk event. In this film from the time, the visionary designer discusses his relationship with the Museum and the public’s reaction to his designs.

Fashion in Motion is a series of live catwalk events presented at the V&A. Featuring some of the greatest designers of our time, Fashion in Motion brings catwalk couture to a wider audience by modelling it against the beautiful backdrop of the Museum.

Transcript:
You come from just everything around you, it’s a state of mind, it’s the state of society today. You know, I can’t be so literal with my references. I think it’s a number of references culminating together to make one idea.

It’s mainly to do with the end result as an image, and hopefully a lasting image. You know, I don’t like throwaway images, I like things to be stuck in the mind of people. Maybe that’s why my work can sometimes come across as aggressive or violent. Because maybe the world to me is a bit violent.

It’s so big. It’s the sort of place I’d like to be shut in over night. With no tourists…. [laughs} sorry.

When I was at St Martins, studying for a masters degree there, I used to go in there at least once a week to go through the archives. I remember going through rooms to set up the exhibition, and there was things I’d never even saw before. Like colossal statues.

They say “you can’t wear it down Sainsbury’s can you?” is the usual comment. I think they’ve got to really understand that as a designer, it’s not just about what you see on everyday people, its about furthering people’s imaginations into shape, proportion and colour.

For me, my basis for anything I do is based on a craftsmanship, be it tailoring. be it woodwork, or be it anything else, you know. I try to involve a lot of hand-crafted things.

It would be nice to get it across to the general public exactly how a metaphor turns into a reality. Look at the silhouette and think about days before, days in the future, you know, just try to think not so closed-visioned really.

I think the people who see the clothes, see the video and see the mannequin on the turntable just taking reflection that if I gave you Marks and Spencers would you look twice? That’s fashion really. Fashion turns at such a fast pace, that I think you’ve just got to have a bit of an open mind and not be so judgemental, I think. Just educate yourself into the world of Alexander McQueen [laughs]

The Big Interview: Karl Lagerfeldカール・ラガーフェルドのインタビュー

Outspoken, in demand and still at the top of his game, fashion designer Karl Lagerfeld talks to Monocle’s editor in chief Tyler Brûlé about the industry, the media and why Berlin isn’t as good as it used to be.

Luxury womenswear label Peter Pilotto was the subject of the V&A’s Fashion in Motion which took place on Friday 20 November 2015. Initially founded by Austrian-Italian Peter Pilotto, Belgian-Peruvian Christopher De Vos joined the label in 2007. The duo met studying at the Royal Academy of Fine Arts in Antwerp and now base their label in London. This video takes a look behind the scenes at the catwalk event.